Writings/Further Research

The following constitutes additional research on music topics which I have researched and/or published articles on.  This research may be of interest to student historians, musicologists, dramaturgs, and composers. Please credit the author of this research (Tamara Cashour) in a website page citation as a secondary reference.  The primary reference is below.

1.  Richard Strauss--Waltz Sequences--Thematic Analysis

WALTZ THEMES ASSOCIATED WITH CHARACTERS from DER ROSENKAVALIER in RICHARD STRAUSS's WALZERFOLGE 1 and 2

(mm = measures; MM = Musical Markings). 

Erste Walzerfolge: Einleitung und Walzer aus der Rosenkavalier op. 59 1.und 2. Akt— AV 139/TrV 227c---Themes and Usage 

EINLEITUNG THEMES 

mm 1-3 THEME OCTAVIAN (as libidinous lover) 

mm 3-5 THEME MARSCHALLIN 

mm 4-35 ACT I OCTAVIAN/MARSCHALLIN THEMES (Trills suggest Octavian’s passion) 

mm 35-45 MARSCHALLIN “LOVE’S RESIGNATION/LOSS” THEME 

mm 46-57 Transitional Material   

ACT ONE THEMES 

mm 58-89 “HOT CHOCOLATE WALTZ” -based on minuet tune from Mozart Piano Sonata in A major, K. 331:1 

mm 89-118 HOT CHOCOLATE WALTZ variation (sehr fliessend) 

 

ACT II/III THEMES 

mm 119-168 SOPHIE-OCTAVIAN MEETING, OCTAVIAN VARIATION 

mm 169-186 BARON LAMENTS HIS WOUND FROM OCTAVIAN 

mm 187-270 THEME & VARIATIONS:  BARON OCHS (Mit mir, keine Nacht Dir zu lang) 

mm 271-279 CADENTIAL LINK (developed further in Act III) 

mm 280-339 “MIT MIR” VARIATIONS 

mm 340-359 BARON OCHS “INVITATION WALTZ” (to Mariandel) (from Act I) 

mm 360-468 OCTAVIAN, OCHS “INVITATION” THEMES/VARIATIONS 

mm 469-532 MIT MIR VARIATIONS 

 

Zweite Walzerfolge (Walzerfolgen des 3. Aktes aus Der Rosenkavalier op. 59 TrV 227a---Themes and Usage  

 

ACT III THEMES 

PANTOMIME 

mm 1-6 “TRAP DOOR/PHANTOMS” THEME 

MM 1-5 VALZACCHI’s THEME:  SETTING UP ROOM FOR THE CHARADE 

ACT III DRAMA 

MM 5-14 OCH’S ENTRANCE INTO GASTHAUS 

MM 14-25 VARIATIONS/OCH’S WALTZ THEMES:  featuring the types:   

Glissando, Chromatic Sentimental, Détaché, and Hemiola 

MM 25-END TRIO ACT III (MARSCHALLIN/TENOR ACT I ( “Di rigor...” opening phrase bears motivic relation to Marschallin’s “Hat mir gelobt...”) (Gilliam 2014:  111) 

PRIMARY REFERENCE:  

Gilliam, Bryan. 2010. The Strauss-Hofmannsthal Operas. In The Cambridge Companion to Richard Strauss, edited by Charles Youmans, 119–35. Cambridge: Cambridge University Press. https://www.amazon.com/Cambridge-Companion-Richard-Strauss

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